A colorful, symmetrical composition centers on a large face with wide, watchful eyes, surrounded by intricate patterns, vivid shapes, and smaller angelic figures. A crown-like form rises above the face, while layered designs in green, yellow, blue, red, and gold fill nearly every part of the image, creating a dense, dreamlike scene.

The Lost World: The Art of Minnie Evans
Now open
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Free at the Whitney

Every Friday evening from 5–10 pm and on the second Sunday of every month, admission to the Museum is free. Both offerings include free access to exhibitions, special programming, city views, and more. Visitors 25 and under are always free, every day. 

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Rows of vintage radios and boomboxes displayed on white platforms in a glass-walled gallery.

The Whitney Biennial 

The Whitney Biennial is the longest-running survey of American art, and has been a hallmark of the Museum since 1932. The current format—a survey show of work in all media occurring every two years—has been in place since 1973. 

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Child drawing on paper titled "Seven Soothing Sketches" with colorful markers and a pill organizer on a table.

Family Programs

Whitney family programs offer artmaking workshops, special events and tours, in-gallery activity guides, and at-home artmaking challenges. Join us for upcoming family events or Free Second Sundays.

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A large stainless steel structure—the outline of a pier—hovers over the Hudson River at dusk.

Video

Watch our latest video series to dive deeper into art at the Whitney.

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Listen to Artists Among Us, featuring long-form and short-form podcasts exploring artworks and events in and around the Whitney through conversation.

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artport

Check out art that's created specifically for the web on artport—the Whitney's gallery space for Internet and new-media art.

Dive Into Our Collection

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  • A Black man wearing a black beret, suit jacket, and slacks sits in a peacock chair. The back of his chair is various shades of grey and features glimpses of newspaper clippings throughout. He holds a spear in his left hand and a rifle in the other. The floor is rust colored with an irregularly shaped zebra print rug. The wall behind him is off-white with rust colored intersecting lines.
    A Black man wearing a black beret, suit jacket, and slacks sits in a peacock chair. The back of his chair is various shades of grey and features glimpses of newspaper clippings throughout. He holds a spear in his left hand and a rifle in the other. The floor is rust colored with an irregularly shaped zebra print rug. The wall behind him is off-white with rust colored intersecting lines.

    Henry Taylor, Huey Newton, 2007. Acrylic and collaged photocopies on canvas, overall: 94 9/16 × 76 1/4 in. (240.2 × 193.7 cm). Whitney Museum of American Art, New York; gift of Martin and Rebecca Eisenberg in honor of Adam D. Weinberg 2016.86. © Henry Taylor

  • A rectangular green-yellow light patch on the floor shows a streetlamp silhouette and scattered bird shadows.
    A rectangular green-yellow light patch on the floor shows a streetlamp silhouette and scattered bird shadows.

    Paul Chan, 1st Light, 2005. Video installation, black-and-white and color, silent, 14 min., overall: 103 × 245 × 283 in. (261.6 × 622.3 × 718.8 cm). Whitney Museum of American Art, New York; purchase, with funds from the Film and Video Committee 2007.4. © Paul Chan, courtesy the artist and Greene Naftali, New York

  • Wonder Woman stands with eyes closed as bright sparks burst from her hands.
    Wonder Woman stands with eyes closed as bright sparks burst from her hands.

    Dara Birnbaum, Technology/Transformation: Wonder Woman, 1978–79. Video, color, sound, 5:50 min., looped, aspect Ratio: 4:3. Whitney Museum of American Art, New York; purchase, with funds from the Film, Video, and New Media Committee 2009.22. Courtesy Electronic Arts Intermix (EAI), New York.

  • A long line of people waits beneath a billboard reading "World's highest standard of living."
    A long line of people waits beneath a billboard reading "World's highest standard of living."

    Margaret Bourke-White, The Louisville Flood, 1937, printed c. 1970. Gelatin silver print, image: 9 11/16 × 13 3/8 in. (24.6 × 34 cm) Mount (board): 15 15/16 × 19 7/8 in. (40.5 × 50.5 cm). Whitney Museum of American Art, New York; gift of Sean Callahan 92.58. © Estate of Margaret Bourke-White / Licensed by VAGA at Artists Rights Society (ARS), New York, NY

  • Mesh wires shaped into a long, fluid blob, like lava in a lava lamp
    Mesh wires shaped into a long, fluid blob, like lava in a lava lamp

    Ruth Asawa, Untitled (S.270, Hanging Six-Lobed, Complex Interlocking Continuous Form within a Form with Two Interior Spheres), 1955, refabricated 1957–1958. Brass and steel wire, overall: 63 7/8 × 14 15/16 × 14 15/16 in. (162.2 × 37.9 × 37.9 cm). Whitney Museum of American Art, New York; gift of Howard Lipman 63.38. © 2020 Estate of Ruth Asawa / Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner

  • Hand-scribbled colorful letters read "Crossing all the borders" in green, blue, and red.
    Hand-scribbled colorful letters read "Crossing all the borders" in green, blue, and red.

    Hock E Aye Vi Edgar Heap of Birds, Crossing All the Borders, 1987. Pastel on paper, sheet: 22 × 29 7/8 in. (55.9 × 75.9 cm) Image: 22 × 29 7/8 in. (55.9 × 75.9 cm). Whitney Museum of American Art, New York; purchase, with funds from the Drawing Committee 2018.137.10. © Hock E Aye VI Edgar Heap of Birds

On the Hour

A 30-second online art project:
Frank WANG Yefeng, The Levitating Perils #2

Learn more about this project

Learn more at whitney.org/artport

On the Hour projects can contain motion and sound. To respect your accessibility settings autoplay is disabled.